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Landscape with a Hermit preaching to Animals
Oil on canvas. 1637 - 1638
Dughet, Gaspard
Landscape with a Hermit preaching to Animals
Oil on canvas. 1637 - 1638
Dughet, Gaspard

This work was one of a large group of landscapes commissioned in Rome by agents of Philip IV to decorate the new Buen Retiro Palace in Madrid. Others artists involved included Claude Lorraine and Poussin who was Dughet´s brother-in-law and teacher. Dughet developed a type of idyllic, artificial eighteenth-century art.

Saint Barbara
Oil on canvas. Ca. 1772
Goya y Lucientes, Francisco de
Saint Barbara
Oil on canvas. Ca. 1772
Goya y Lucientes, Francisco de

Saint Barbara was a third-century Christian martyr imprisoned in a tower and later decapitated by her father, Dioscoro, as punishment for not wanting to marry and refusing to profess paganism. Goya depicts the saint with her various symbols, with a monstrance in her right hand and the palm frond of martyrdom in the left. She wears a crown as she was a princess. The tower is behind her, and a repre

Saint Anthony of Padua with the Infant Christ
Oil on canvas. Ca. 1850
Anonymous
Saint Anthony of Padua with the Infant Christ
Oil on canvas. Ca. 1850
Anonymous

The Painter's Children in the Japanese Room
Oil on canvas. 1874
Fortuny, Mariano
The Painter's Children in the Japanese Room
Oil on canvas. 1874
Fortuny, Mariano

Fortuny’s sudden death left this painting unfinished, yet it remains one of his finest pieces, and the maximum expression of the audacious pictorial modernity that characterizes his mature work.The two children that appear in this canvas are the artist’s own son and daughter, Mariano and María Luisa. They rest on the long divan in the Japanese Room at Villa Arata, the Fortuny family’s summe

Saint Sebastian
Oil on canvas. 1617 - 1619
Reni, Guido
Saint Sebastian
Oil on canvas. 1617 - 1619
Reni, Guido

Sebastian was a Roman soldier who suffered martyrdom for his Christian faith during the reign of Diocletian and Maximian at the end of the third century. He was made a patron saint of the city of Rome and his cult became popular throughout Europe as he was invoked in times of plague. Sebastian is usually shown bound to a tree and shot with arrows in what turned out to be a first failed attempt at

Bullfight
Oil on canvas. 1867 - 1868
Fortuny, Mariano
Bullfight
Oil on canvas. 1867 - 1868
Fortuny, Mariano

The sketch, almost schematic character of this composition makes this one of the most attractive bullfighting scenes ever painted by Fortuny. It offers a panoramic view of a bullring -probably in Madrid- in which the powerful contrast of light between the part in the sun and the part in the shade is outstanding. The painter treats the hustle and bustle of the spectators as an undefined mass, with

Self-portrait
Tempera on canvas mounted on panel. 1947
Fortuny y Madrazo, Mariano
Self-portrait
Tempera on canvas mounted on panel. 1947
Fortuny y Madrazo, Mariano

Mariano Fortuny Madrazo (Granada, 1871-Venecia, 1949) se autorretrata en busto, de frente y hasta los hombros, a la edad de setenta y seis años. Aparece vestido con la bata que usaba habitualmente para trabajar, bajo la que asoma el cuello de la camisa. El artista, que hizo un análisis de las avejentadas facciones de su cara, presenta el pelo blanco todavía abundante y una poblada barba cana que o

Francesc Torrescassana
Oil on canvas. Ca. 1858
Martí Alsina, Ramón
Francesc Torrescassana
Oil on canvas. Ca. 1858
Martí Alsina, Ramón

Retrato de busto y de tres cuartos de un personaje que mira fijamente al espectador, con el cabello alborotado y chaqueta oscura de cuello cerrado, que deja entrever el cuello de una camisa blanca. El retratado es el pintor Francesc Torrescassana i Sallarès, nacido en Barcelona en 1845 y fallecido en la misma ciudad en 1918. Torrescassana fue discípulo de Martí i Alsina, de quien adoptó el estilo

1st Marquis of La Ensenada
Oil on canvas. Ca. 1750
Amigoni, Jacopo
1st Marquis of La Ensenada
Oil on canvas. Ca. 1750
Amigoni, Jacopo

Born in 1702, Zenón de Somodevilla y Bengoechea obtained a marquisate in 1736 following the conquest of the Kingdom of the Two Sicilies for the Infante don Carlos. Quartermaster General of the Navy, in 1743 he became Secretary of State, the Treasury, and of the Army and Navy. As minister under Ferdinand VI he achieved unequalled power. In favour of friendly relations with France, the Marqui

Walled Yard
Oil on canvas. 1898 - 1901
Gimeno Arasa, Francisco
Walled Yard
Oil on canvas. 1898 - 1901
Gimeno Arasa, Francisco

This canvas, which received a third class medal at the National Exhibition of 1901, depicts the suburbs of Barcelona, probably the Sant Gervasi quarter, which the artist started to paint at his period. In his description of the yard with chickens in the foreground and the urban skyline, Gimeno employed the distinctive brushtroke which would establish him just a few years later as an independent fi

Prado Museum, view of a room with works by Goya
Gelatin / collodion on photographic paper. 1949
Kessel, Dimitri
Prado Museum, view of a room with works by Goya
Gelatin / collodion on photographic paper. 1949
Kessel, Dimitri

Sibyl
Pencil, Prepared with a stylus, Blurred / softened / rubbed on paper. 1525 - 1530
Romano, Giulio (Giovanni Francesco Penni)
Sibyl
Pencil, Prepared with a stylus, Blurred / softened / rubbed on paper. 1525 - 1530
Romano, Giulio (Giovanni Francesco Penni)

This is the most Raphaelesque of all the sixteenth-century Italian drawings in the Prado, the confident style of drawing in black chalk echoing that of Raphael´s own late drawings in the medium, above all his studies for heads in the Transfiguration in the PinacotecaVaticana, in the British Museum, London, the Ashmolean Museum, Oxford, and elsewhere. Here in the Prado drawing, the execution is fin

A Street in the Albaicín. Granada
Pencil, Pencil, Grey-brown ink, Wash on yellow paper. 1871 - 1872
Fortuny, Mariano
A Street in the Albaicín. Granada
Pencil, Pencil, Grey-brown ink, Wash on yellow paper. 1871 - 1872
Fortuny, Mariano

This drawing shows Fortuny’s fondness for the architecture and winding alleyways of the Albaicín, one of Granada’s landmark districts. The narrowness of the streets provided the painter with an excellent opportunity to study perspective, aided by the line running along the centre of many of its cobbled streets -channels that carried water from the Arab cisterns at the top of the hill.

Salvadora Torrá, widow of Camarón
Pastel on paper. Ca. 1829
López Portaña, Vicente
Salvadora Torrá, widow of Camarón
Pastel on paper. Ca. 1829
López Portaña, Vicente

A bust study with a finished rendering of the head and a bare indication of the outline of the dress. The sitter appears to be about 65 years old. A braid holds the rest of her hair like a diadem, with curly locks hanging over her forehead. Two small earrings are her only adornment.As first chamber painter, López took part in the appraisal of one of the elder Camarón’s canvases, and

Sumerian Head
Diorite. 2144 A.C. - 2124 a.C.
Anonymous
Sumerian Head
Diorite. 2144 A.C. - 2124 a.C.
Anonymous

This is one of the largest known Sumerian heads. It is quite similar to portraits of Gudea, the most famous and intelligent ruler of Lagasch. There is very little information about the origins of this piece, which Mexican collector Marius de Zayas donated to the Museo del Prado during World War II. Zayas himself stated that "the pieces that make up my donation have been collected over the course o

Xenophon
White marble. Ca. 150
Roman Sculptor
Xenophon
White marble. Ca. 150
Roman Sculptor

The portrait of the writer Xenophon (430-354 b.c.e.), who was a disciple of Socrates in Athens and later commanded an army serving the Persians and Spartans, was identified in 1949, when a herm inscribed with his name was discovered in Alexandria (120 A.D., BA Antiquities Museum, inv. 25778).Six Roman copies of this portrait are now known: the Alexandria herm, an incomplete portrait from Pergamon,

Circular carpet
Wool. 1928
Real Fábrica de Tapices
Circular carpet
Wool. 1928
Real Fábrica de Tapices

Alfombra de nudo simétrico o turco. Fue encargada a la Real Fábrica de Tapices el 24 de febrero de 1928 con destino al Museo del Prado, coincidiendo con la celebración del Centenario del fallecimiento de Goya. Entre los actos realizados con motivo de la efeméride, se encontraba una gran exposición en el Museo del Prado y la inauguración de las nuevas salas habilitadas en la pinacoteca madrileña pa

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